A return to vinyl

I remember the first record I ever bought. It was the 45 single of “The Tide Is High” by Blondie. I remember the day I bought it at the Spokane Valley Mall when I was out with my friends for the day, hanging out. I was in 6th grade. I remember standing in the record store and staring at the cover and thinking that Blondie was the coolest woman on the planet. I played the record to death. And others, too. It was the beginning of a beautiful relationship with music and records.

I sold my record collection in my grandmother’s estate sale. I’d become a born-again Christian and didn’t think having them was wholesome. So I sold them for a song. Yes, including my beloved “The Tide Is High” 45. I have regretted doing this many millions of times. It hurts even now, just thinking about it.

Eventually, like everyone else, I moved on to cassette tapes, then CDs, then mp3.

A few weeks ago I went on a search in Portland for a record album released in vinyl for my Dutch friend. It was a special USA release and I offered to have a look. Unfortunately It was a special Black Friday release of the Big Lebowski Soundtrack and, being Portland, it sold out very quickly by the time I hit the stores. However, my prowling around in the fabulous indie record stores of Portland re-ignited my love for record albums. The whole tactile feel of thumbing through the albums filed by genre in bins. Picking up the 12×12 album cover and holding it in my hands and looking at the cover art.  I might have bought a family member’s Christmas present in one of those stores…

I have decided to jump back into this world of vinyl records. I have a turntable back home in Spokane but I can’t even wait for my mom to drive it here. I am going to use my Christmas money to buy a record player (I swear to god I probably said these exact words when I was 11). And my first vinyl purchase will be Pixies Doolittle 25.  Actually, the impetus for this desire to listen to music on a record player again, the thing that put me over the edge, was seeing that Doolittle was being reissued on vinyl. Doolittle is my favorite album of all time, period. I can’t think of a better re-introduction.

Roll 44 – The pumpkin patch

Moni:

Here is my latest on 52 rolls. Enjoy!

Originally posted on 52 rolls:

For roll 44 I visited a pumpkin patch in Sauvie Island with my pinhole friends Gretchen and Donna. We had a great day playing pinhole in the corn maze. At one point we found ourselves surrounded by kids and I scared them with a zombie horse mask. I may have gotten punched in the face by one of them…

These were made with my Zero 45 and  Ektar film. Check out Gretchen’s photos of the day here!

View original

The Enclave

Yesterday I was in the photo collection at the Portland Art Museum looking at some pieces and I heard some noise. I wondered what in the world the sound was and deduced that it might be protestors outside yelling. I looked out the window in the hallway and didn’t see anything so I made my way up to the next level.

I saw that this is where Richard Mosse’s The Enclave was installed. That is what I was hearing from the floor below.

As I wandered around the museum I saw posters for The Enclave. The posters piqued my interest and I wanted to be sure to take a peek before I left for the day (I had no idea what it was, except that it was photography of some sort). When I finally made my way up to the top of the museum  I found  myself in a dark hallway. I literally had to feel and fumble my way inside. I walked in and was greeted with a screen that was flashing light.  I saw that there were several screens and they were each showing different things, but they all had this very surreal coloring, lots of pink, red, and purples.

I walked in and sat down on the floor and my mind was blown for the next 40 minutes.

I was mesmerized. The art installation is a documentary of sorts. Here is the description from P.A.M’s website:

The Enclave was produced using a recently discontinued military film technology originally designed in World War II to reveal camouflaged installations hidden in the landscape. This film registers an invisible spectrum of infrared light, rendering the green landscape in vivid hues of lavender, crimson, and hot pink. On the threshold of the medium’s extinction, Mosse employed this film to document an ongoing conflict situation in eastern Democratic Republic of Congo.

He used the now discontinued film, Aerochrome, which rendered the landscape in hot pink. So you are watching horrific things on the screen but it is also very surreal because of the color. This is just one aspect of the piece that made it so mesmerizing. It was very powerful. It affected me on a gut level. It is hard to intellectualize it or describe it.

I love art that affects me in that way. I will be thinking about this for a very long time.

At one point two women walked in with two little girls. They were chatting loudly and unaware that there where stunned people lining the walls of the room watching what was happening on the screens. The girls skipped to the center of the room where there were three screens. They stood in front of the screens while mom snapped pictures with her iphone of them. I thought, “I just saw a dead body on the screen. What is going to happen when a dead body shows up on the screen? What are these women going to do?!?” These people and their utter disregard for what they walked into added to the surreal effect of the experience for me. It almost felt like they were a part of the art installation.

The Enclave will be at the Portland Art Museum until February 15th 2015.

You should go see it.

You can see some of Mosse’s still photography from The Congo here.

Since I am doing my 1 second everyday project, and I wanted this to be my 1 second of yesterday, here are some snippets of what I saw. It really doesn’t do it any justice at all. You have to go experience for yourself.

Foolish Gibberish

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